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About USC
USC Today
Located near the heart of Los Angeles, the University of Southern California is one of the top private research universities in the United States.
Since its establishment in 1880, USC has conferred degrees on more than a quarter-million students — leaders who have helped Southern California emerge as a national trendsetter in public policy, economic and business affairs, urban planning and engineering, scientific research, health care, communications and the arts.
Today, USC and its graduates carry forward this heritage of leadership — developing innovative opportunities for learning, exploring new fields of scholarship and investigation, and establishing a widening network of service and partnership among the nations of the Pacific Rim.
The traditional function of the university is to teach students — and at USC teaching takes place in the classroom, studio, laboratory, seminar room and on the playing field, as well as where students live. USC is committed to promoting lifelong learning and to the principle that education is most effectively carried out in a context that encourages the creation of new knowledge.
USC places a premium on research and scholarship and on the professional and scholarly credentials of its faculty. Since 1969, USC has been a member of the Association of American Universities, the elective body that unites the 60 premier research universities in the United States and Canada.
The University of Southern California is accredited by the Western Association of Schools and Colleges, 985 Atlantic Ave., Suite 100, Alameda, CA 94501, (510) 748-9001. Students may review USC's accreditation documents by contacting Robin Romans, associate provost for undergraduate programs.
Throughout its history, USC has performed a wide variety of roles in service to its constituencies — contributing to the welfare of its own students, faculty, staff and alumni, as well as to Southern California, the nation and the world. In particular, the university's network of affiliated hospitals and its partnerships with business and nonprofit organizations help to make USC's expertise available to the community at large.
Academic ProgramsThe University of Southern California upholds a tradition of academic strength at all levels — from the earliest explorations of the undergraduate to the advanced scholarly research of the postdoctoral fellow.
USC offers bachelor's degrees in 95 undergraduate majors as well as master's, doctoral and professional degrees in 134 areas of study. Hand-in-hand with this wide array of majors, USC has developed 147 different academic and professional minors — the broadest selection of any U.S. university — to encourage students to study subjects across widely separated fields. Students may select from a variety of degree combinations under the direction of the College of Letters, Arts and Sciences, the Graduate School and the university's 17 professional schools.
The heart of the university's liberal education program is the USC College of Letters, Arts and Sciences. The largest of USC's academic divisions — in terms of both student enrollment and faculty — the college serves more than 6,400 undergraduates and more than 1,500 graduate students, and offers some 57 academic fields of study. In addition to the undergraduate degrees offered by the college, many of the university's professional schools also offer bachelor's degree programs.
FacultyUSC's full-time faculty numbers nearly 3,200. In addition, more than 4,000 volunteer faculty members are affiliated with the Keck School of Medicine of USC, and some 430 volunteer faculty are affiliated with the USC School of Pharmacy. Research, teaching and service are supported by a staff of 8,200.
USC's faculty includes members of the National Academy of Sciences (11), National Academy of Engineering (25), Institute of Medicine (12) and American Academy of Arts and Sciences (19). More than 200 faculty members have received prestigious academic and professional awards from organizations as varied as the National Institutes of Health, the National Science Foundation, the Alfred P. Sloan Foundation, the John Simon Guggenheim Foundation and the Academy of Motion Picture Arts and Sciences. In 1994, USC Professor George A. Olah received the Nobel Prize in chemistry. More recently, University Professor Kevin Starr received the National Humanities Medal in 2006, and Professor Morten Lauridsen received the National Medal of Arts in 2007.
StudentsDiversity is a hallmark of the USC student community. USC students come from all 50 states, 12 territories and 110 countries. There are 33,500 students enrolled at the university, including 16,500 undergraduate and 17,000 graduate and professional students. In fall 2007, 52 percent of new freshmen were from California. Approximately 37 percent of the university's total enrollment is composed of American minorities; a further 17 percent are international students. For six consecutive years, USC has been at the top of American universities in terms of international enrollment. Among undergraduates, 50 percent are men and 50 percent are women.
The middle 50 percent SAT range of the 2007 enrolled freshman class was 1910-2180. The average unweighted GPA was 3.71; weighted was 4.07. In fall 2007, there were 236 National Merit and National Achievement Scholars.
USC students consistently earn nationally competitive scholarships and fellowships including Rhodes, Marshall, Fulbright and Truman scholarships.
Research SupportEach year, USC's distinguished faculty and modern facilities attract substantial external funding for educational and scientific research. According to the most recent data available, USC ranks 12th among private universities receiving government funding for research and development support and 21st among all universities — with a 2007 total of $432 million.
LibrariesThe USC Libraries house more than four million volumes, three million photographs, six million microforms and subscribe to more than 50,000 serials and 33,000 electronic journals.
The largest of USC's libraries is the Edward L. Doheny Jr. Memorial Library, which contains the research collections for most of the humanities and social sciences. Doheny Memorial Library also houses the Cinematic Arts Library, the Music Library, the East Asian Library and Special Collections.
In addition to Doheny Library, the USC Libraries include a number of specialized research libraries that serve the unique research needs of the campus. Three libraries also are devoted to collections for their respective professions: the Asa V. Call Law Library, the Eileen and Kenneth T. Norris Medical Library and the Jennifer Ann Wilson Dental Library and Learning Center.
The Thomas and Dorothy Leavey Library features a core collection of books and journals, two electronic information commons with nearly 200 computer workstations, more than 50 collaborative workspaces, two hands-on learning classrooms, a multimedia auditorium and more than 1,400 reader seats in a variety of formal and informal arrangements. Designed to support undergraduate learning, Leavey provides faculty and students with tools to accomplish research using both traditional and electronic resources. Within Leavey, librarians and staff provide faculty with assistance in using technology and information resources to develop materials for instruction and scholarly research.
The USC Libraries have noteworthy collections in the areas of cinema, international and public affairs, American literature, regional history, marine science, philosophy, Latin American and Korean studies, among others. The Feuchtwanger Memorial Library features an extensive collection of Lion Feuchtwanger's own works along with the rarest books from his library. The USC Libraries are also home to the Boeckmann Center for Iberian and Latin American Studies, as well as an extensive collection of photographs chronicling the history of Southern California. A complete list of all libraries and updated hours is available online at www.usc.edu/libraries.
The USC Libraries are the administrative hub of the Southern California Electronic Libraries Consortium. USC is a member of the Research Libraries Group, an international association of major universities and research institutions. In addition, USC maintains borrowing agreements with Hebrew Union College and the Los Angeles County Museum of Natural History Library. For more information about the libraries' lending policies, visit the Web site at www.usc.edu/libraries/about/lending_policies.
USC's digital library resources, available online at www.usc.edu/e_resources/isd, include a collection of article indexes, catalogues, dictionaries, encyclopedias, electronic journals and visual materials. USC's online library catalogue, HOMER, provides a list of books, periodicals, government documents and dissertations held in libraries on the University Park campus. The Scholars Portal enables simultaneous searching of selected research databases, including HOMER and core bibliographic tools in all major subject areas. The USC Libraries are also engaged in numerous digital initiatives, such as the USC Digital Archive and the Shoah Foundation Institute Visual History Archives. To access these resources and learn about additional services, visit www.usc.edu/libraries.
USC's Ask-a-Librarian service provides professional reference assistance to students, faculty and staff. Patrons receive expert answers — via phone, email, online chat sessions or in person. Ask-a-Librarian is located online at www.usc.edu/libraries/services/ask_a_librarian.
Computing ResourcesStudents must be registered for classes or have paid their tuition deposit and certified that they will be attending USC in order to access computing services. Students must also activate their free USC account at www.usc.edu/firstlogin. Complete information about the resources and services provided is available online at www.usc.edu/its.
Anti-Virus and Other SoftwareThe university offers a range of software, including free anti-virus software for on-campus and home computers. Software is available for use in USC's public computing centers, as well as for free download or purchase, depending on the application. To learn more, visit software.usc.edu.
Google Apps at USCThrough USC's partnership with Google, students are eligable for special accounts that allow them to send and receive Gmail using their @usc.edu email address. In addition to more than 6 gigabytes of online storage, these accounts provide access to Google's online word processing and spreadsheet programs, shareable calendars and more. For information, see www.usc.edu/its/google.
BlackboardThe Blackboard Web site (blackboard.usc.edu) is the online portal used by many USC professors to provide electronic copies of course materials, syllabi, reading materials and handouts. Blackboard allows students to participate in an online discussion or take a quiz with automatic grading and immediate feedback.
Computing AssistanceInformation Technology Services (www.usc.edu/its) offers online computing documentation on a variety of topics. Printed guides are available in public computing centers and the Leavey Library Information Commons.
Network ConnectionsAll the rooms in USC residence halls, as well as some areas of Leavey Library and the Marshall School of Business, are connected to ResNet, a high-speed computer network. The ResNet connection allows students to enjoy free, high-speed (10-megabit-per-second) Internet access.
USC also has modems that off-campus students may dial into for Internet access. More information on connecting to the USC network can be found at www.usc.edu/its/connect.
USC WirelessMost common areas at USC — including libraries, auditoriums and eateries — are configured for wireless technology. New locations are being added continuously. An updated list of wireless locations is available at www.usc.edu/its/wireless.
To ensure the security of wireless connections, Information Technology Services recommends the use of USC's Virtual Private Network (VPN) software at all times. This program can be downloaded at software.usc.edu. For more information about the VPN client, visit www.usc.edu/its/vpn.
InformationFor more information about computing resources, users may contact the ITS Customer Support Center by calling (213) 740-5555 or emailing email@example.com. Additional assistance is available at the service desk of any public computing center.
Hospitals and Patient CareThe schools of medicine, dentistry and pharmacy, together with the divisions of biokinesiology and physical therapy and of occupational science and occupational therapy, train professionals in the health care fields, conduct original research in all aspects of biomedicine and health care and provide high quality patient care to the Southern California community.
Health care facilities on the Health Sciences campus include the USC/Norris Comprehensive Cancer Center and Hospital, USC University Hospital, USC Healthcare Consultation Centers I and II and the Doheny Eye Institute. The 411-bed University Hospital is an ultra-modern facility offering many specialized services and procedures that are beyond the scope of most community hospitals.
The Keck School of Medicine of USC also provides medical staffing for the adjacent Los Angeles County+USC Medical Center, which is one of the largest academic medical centers in the country and the largest single provider of health care in Los Angeles County. Owned and operated by Los Angeles County, the medical center treats over 28 percent of the region's trauma victims. In addition, it operates one of only three burn centers in the county, a Levil I trauma center and one of the few Level III neo-natal intensive care units in Southern California. At LAC+USC, Keck School faculty direct the care for half of the AIDS patients and half of the sickle cell anemia patients in Southern California. They also provide special clinical care programs for patients with multiple sclerosis, diabetes and other diseases.
Community RelationsUSC is an active partner in efforts to enhance the social, economic, physical and cultural aspects of the neighborhoods adjacent to both the University Park and Health Sciences campuses.
To carry out these efforts, USC Civic and Community Relations (USC CCR) assists the university's academic and administrative units in implementing five major university-community initiatives in partnership with community agencies, leaders and public officials. These initiatives encourage more entrepreneurs to establish businesses in the immediate vicinity of the two campuses; provide special educational, cultural and developmental opportunities for children who live in the immediate neighborhoods; work with neighbors, city and county officials, and the Los Angeles Police Department to provide safer streets in the areas surrounding the two campuses; encourage more USC employees to own and occupy housing in the immediate vicinity of the two campuses; and strive to employ at USC more persons who live in the immediate neighborhoods.
USC CCR provides and helps facilitate resources that strengthen the communities around USC's campuses, deepen USC's ties to these diverse communities and foster positive relations between USC and those people who are most directly affected by USC's presence in these neighborhoods. USC CCR also administers the USC School for Early Childhood Education, the USC Educational Opportunity Programs Center and the Los Angeles Metro Minority Business Enterprise Center.
More than 250 community service programs sponsored by or affiliated with USC and partner institutions serve more than 430,000 persons and provide volunteer opportunities for more than 40,000 USC students, faculty, staff, alumni and friends each year. These volunteers contribute more than 1.2 million volunteer hours. Areas of activity include arts and culture, athletics and recreation, child care, children and family, business and economic development, communication and media, criminal justice and legal education, employment, environmental, health, housing, human relations, legal, literacy, older adult, public safety, scholarships and awards, technology, service learning, and volunteer and community service.
Model programs such as the USC Family of Schools, the USC Joint Educational Project, Kid Watch, USC Mission Science, USC After School Sports Connection, USC Community Health Fair, FUENTE Initiative, USC Health Science Expo, USC Community Education Academy, Community Based Learning Collaborative and the Neighborhood Academic Initiative are a few of the innovative university-community partnerships that are making a real difference in the lives of the university's neighbors.
From 1994 to 2007, USC faculty and staff contributed more than $9 million through the USC Good Neighbors Campaign, of which more than $7.1 million has benefited 290 USC-community partnership projects.
Information about these community service programs and data about the USC neighborhoods can be obtained at www.usc.edu/community, www.usc.edu/ext-relations/ccr and www.usc.edu/neighborhoods/community/programs..
USC is committed to working in partnership with its neighbors to build a thriving and safe social and physical environment.
Cultural LifeUSC and its graduates play an important role in making Los Angeles one of the world's great centers for the arts. The schools of music and theatre produce a regular series of concerts, operas, musicals, plays and other events. There are three major music, drama and cinema theatres on campus. For up-to-date information about cultural events at USC, call the University Ticket Office at (213) 740-7111 or visit the arts and events Web site (www.usc.edu/calendar).
AthleticsUSC sponsors nine varsity sports for men and 10 for women, involving more than 500 of the nation's top-ranked athletes. In their pursuit of athletic and academic excellence, USC varsity teams have won more national championships than all but two NCAA member institutions: 21 women's team titles and 86 men's team titles — including 11 unofficial football titles. USC is one of only three universities in intercollegiate athletic history to win at least five national championships in one year (1962-63 and 1976-77). Fifty USC athletes have been awarded NCAA postgraduate scholarships.
In Olympic competition, USC has fielded more athletes than any other institution. Since 1904, 362 Trojan athletes have participated in the Olympic games, accumulating a total of 112 gold, 66 silver and 58 bronze medals.
At least one USC athlete has won a gold medal in every summer Olympiad since 1912, making USC the only university in the world with this distinction.
USC Alumni AssociationAll USC graduates are automatically members of the USC Alumni Association, dedicated to serving the university's more than 200,000 alumni, lifelong and worldwide. Members of the Trojan Family live in all 50 states and around the world and are leaders in their chosen fields. Distinguished USC alumni include former U.S. Secretary of State Warren Christopher, astronaut Neil Armstrong, architect Frank Gehry, opera singer Marilyn Horne, comedian Will Ferrell and film director George Lucas.
The USC Alumni Association offers a broad range of programs and services to help alumni stay connected to USC and one another. These include Fight On!Line, our searchable alumni directory; inSCircle, an alumni social networking program; a worldwide network of alumni clubs; free lifetime email forwarding; career assistance; Trojan Travel including the Young Alumni Travel Program; signature events such as Homecoming and Alumni Awards; football weekenders; class reunions; volunteer opportunities; and much more.
Founded in 1923, the Alumni Association is headquartered in Widney Alumni House, USC's original structure and the oldest university building in Southern California. For more information, call (213) 740-2300 or visit the USC Alumni Association online at alumni.usc.edu.
University Park CampusLocated at the same site since USC's establishment in 1880 on eight acres of land in the city of Los Angeles, the University Park campus has grown to its present size of 226 acres. Situated three miles south of the Los Angeles Civic Center, the campus is adjacent to the museums and recreational facilities of Exposition Park and is served by a network of freeways that provides access to most cultural, business and recreational areas of Southern California.
The University Park campus consists of 196 buildings and residence halls totaling approximately 8.4 million gross square feet, not including a new home for the USC School of Cinematic Arts slated to open in December 2008. Additional university buildings are located off campus, in the immediate vicinity.
Health Sciences CampusLocated three miles from downtown Los Angeles, the USC Health Sciences campus is a focal point for students, patients and scientists from around the world. Here a blend of clinical, classroom and laboratory resources combines to form a dynamic, interactive environment that is shaping the future of health care.
The 61-acre Health Sciences campus is home to the region's first and oldest medical and pharmacy schools, as well as to acclaimed programs in biokinesiology and physical therapy and in occupational science and occupational therapy. In addition to Los Angeles County+USC Medical Center, the primary teaching hospital for the Keck School of Medicine for more than a century, the campus includes several state-of-the-art patient-care facilities, among them USC/Norris Comprehensive Cancer Center and Hospital, USC University Hospital and Doheny Eye Institute. Activities of USC faculty, residents and students also extend beyond the campus — to affiliated hospitals and health care providers throughout Southern California, and to the USC University Park campus, a collaborative partner in numerous health sciences-related programs.
Other LocationsOther teaching facilities include the Orange County Center, State Capital Center and the Wrigley Marine Science Center on Catalina Island.
Orange County Center (949) 437-0000, 2300 Michelson, Irvine, CA 92612, Business, Education, Pharmacy and Social Work.
State Capital Center (916) 442-6911, 1201 J Street, Sacramento, CA 95814, Policy, Planning, and Development and Education.
Philip K. Wrigley Marine Science Center on Catalina Island (310) 510-1364, Wrigley Marine Science Center, P.O. Box 5069, Avalon, CA 90704.
In addition, the USC Office of Federal Relations, located in Washington, D.C., serves as the liaison between USC and the federal government.
USC Federal Relations (202) 824-5860, 701 Pennsylvania Avenue, N.W., Suite 540, Washington D.C., 20004


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Reviewed By Jason G (Aurora, OH) Reviewed for a 2004 Lexus RX 330 —7/26/2012 8:37 PM
Order these for my wifes Lexus RX330 and her fathers GS330. Great product, solid rotor and the anti-rust coating on the hub is a great touch to keep them looking nice. I also recoment the Centric posiquiet pads. They include all the hardware needed for the job, which will keep me coming back for future brake replacements. You won't regret this combo for the money. J


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His sister, Kaley Pleban, said he decided to have a below-the-knee amputation on his left foot, the only place where the disease was hindering him.
Joe had the surgery two weeks ago at Georgetown University Hospital in Washington, DC.
Joe also told redditors that he hopes to get back to snowboarding and wants to look into the Paralympics.
Follow me on Twitter @TanitaG_RNN.Copyright 2014 Raycom News Network. All rights reserved.


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Theatre Winter Haven takes audiences to the days of typewriters, leisure suits and the women's rights movement, in its production of "9 to 5: The Musical."
Theatre Winter Haven takes audiences to the days of typewriters, leisure suits and the women's rights movement, in its production of "9 to 5: The Musical."
In the late 1970s, more women opted to combine motherhood and a career, and many sought to move beyond typing pools into boardrooms.
In 1980, their story was told with humor and music in Dolly Parton's smash hit movie, "9 to 5." The film's theme song became the anthem for women seeking empowerment.
"9 to 5: The Musical" is based on the movie, with music and lyrics by Parton. Like the film, the musical tells the story of three women with very different personalities struggling to survive in an oppressive work environment run by a male chauvinist.
But the musical premiered in Los Angeles during 2008 — nearly three decades after the film — and presents a disjointed look at office life in the 1970s. Many of the scenarios are almost unfathomable in today's society. A boss who gropes his well-endowed female employee is likely to be slapped with a lawsuit. And rare is the woman asked to fetch her boss a cup of coffee these days.
Pandemonium ensues as the women become friends and react to their domineering and lecherous boss, Mr. Hart.
While Parton's songs are touching and for the most part lively, they can't make up for the play's trite moments, such as when the licentious Mr. Hart drops a jar of pencils so he can look down the well-endowed bosom of Doralee or later when he finds himself handcuffed to a bedpost by his employees.
But Director Katrina Ploof saved this production by casting experienced and talented performers who bring considerable zing to their respective roles, including a sizable supporting cast and extras.
A TWH regular, Lori Engler is spot on as Violet, the strong and ambitious head secretary and single mom. While easily eliciting laughs with crazy antics, Engler is at her best when she allows Violet's softer side to emerge in scenes with her teenage son, aptly portrayed by Shane Truax, and during tentative flirtations with company accountant Joe, subtly played by Travis Whirl.
Stephanie Coatney, an experienced performer fresh off a professional tour as Emily in "Freckleface Strawberry," does Parton proud as the sexy but wholesome — and happily married — object of Hart's advances. One moment she draws laughter with well-timed lines like, "I'll change you from a rooster to a hen in one shot," and the next minute she renders the audience silent with the poignant country tune, "Backwoods Barbie."
Sara Catherine Barnes, who drew praise as Tracy in last summer's "Hairspray," presents a stunning change in the insecure, recently dumped Judy, a shy new employee empowered by the women's quest for revenge.
Mark Hartfield, last seen in drag as Edna in "Hairspray," shows versatility as the male chauvinist corporate boss, Mr. Hart. His Hart is a caricature of arrogance and self-absorption, but he can belt out a tune with as much power as his female cast mates.
Nicole Frier, as Hart's frumpy secretary Roz, brings down the house when she vamps it up and declares her unrequited love for her boss during a roaring rendition of "Heart to Hart."
The set, designed by Gary May, allows for quick scene changes, including various bedrooms, the corporate typing pool office, Hart's office, an elevator, and a hospital hallway.
Lighting designer David Castaneda brings out the best in each scene with creative lighting, from casting windows of light in Hart's office to spotlighting the bed where he is held captive, and transporting him to a green-hued jungle.
Costumes by designer Camille McClellan harken to the often horrendous fashions popular in the late 1970s and early 1980s — the layered look, leisure suits, vests, and shirt dresses cinched at the waist.
The 10-piece pit orchestra, while a bonus to the performance, is so subdued that the instrumentation isn't defined.
On Saturday, the flow of the performance was marred at times by issues with the sound system, making it difficult to hear dialogue over squeaks or when mics stopped working.
Despite a few snags, the production provides an enjoyable theater experience. Looking beyond the tired gags and outdated societal references enables the audience to see the gold in this production of "9 to 5: The Musical": entertaining performances by a versatile and talented cast.
[ Donna Kelly has been covering arts and entertainment in Polk for 10 years. ]


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The first day of summer not only brought with it more tourists and typical Rhode Island beach traffic, but the further development of my logo project at Hasbro (detailed in my last entry). It seems that after the first two options I make for every design, I hit a major roadblock. See what I did there. It takes some deep thought and usually a fresh start to get to a point where the idea is finally "outside of the box."
Some research on shapes and typography led me to a place where I could start to process exactly what message the company needed to convey with the logo and an idea that I believed would maximize the name of the entity with its mission and purpose (of which I cannot disclose).
Because of the helpful nature of Waynesburg University's professors, I was able to send my advisers and a mentor my logo prototype and get some excellent feedback. From there, I was able to improve the logo more than what I ever expected. Getting this feedback and "peer review" was a necessary step before sending the logo to my supervisor at Hasbro. It probably saved my supervisor a lot of time because now I can give him/her the best option possible.
The logo design process for this particular logo helped me tremendously in the process of another, which was given to me last week. I have already made strides toward what I think is a good option for the team. Time and more thought will tell if that is true.
During these last two weeks I have also had the opportunity to take some short online classes. When I had time between projects, I would take some of these classes and I have already learned more than I thought a video could teach me. I learned the science behind product photography and positioning objects in ways that make sense for say, a catalog or an advertisement.
I learned about designing online portfolios in preparation for the design of my own to showcase all I have done during this terrific internship. I also learned that different shapes influence the feel of a logo. For instance, a circle conveys the idea of flow and movement, while a square gives the impression of structural integrity and rigidness. So a circle may be good for a medical facility to convey its current and dynamic nature, while an academic institution would benefit from a square logo to show its structured nature.
Most importantly, during these past few weeks I have learned the value of dedication to a project. It may seem that your first idea is awesome, but I promise you, the next one will be better because you have given the subject matter more thought. Stay tuned for next week.
Brittany Semco is a senior design student at Waynesburg University.


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I got my new iMac a few days ago after the old one died. This is the first computer I've bought in years that I didn't set up by automatically syncing with the previous computer (since that computer is a brick until I do something about the hard drive).
So, I've had to decide what software to actually install on it. Here's what I have so far, and I can't think of anything else I really need:
Chrome browser
Skitch (for image manipulation)
I can't think of anything else I'll need to install on this, except maybe the printer software at some point and possibly VLC and a BitTorrent client (uTorrent). I could probably do without Skitch if I had to and use a browser based editor, but I'm used to it and like it.
Things sure have changed, even in the last few years. Office, for example – I absolutely don't need it for anything anymore. I used to make sure I had at least the student/teacher edition for the occasional spreadsheet. But I haven't opened Office in the last couple of years.
Anything else I'm forgetting that I'll probably need at some point?


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Not sickly sweet, creamy and smooth, no bitterness. My favourite
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Here's a gift that lets someone know they're truly unforgettable. Our expert florists gather elegant white and purple blooms in a stunning Marquis by Waterford® crystal vase that allows their beauty to shine through. With its exquisite design and detail, this handcrafted keepsake is one they'll cherish forever.
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The Business Office is now offering electronic Direct Deposit to all students and employees for out of pocket expenses.
Effective June 1, 2012.
Employee Reimbursements
All employee reimbursements are eligible for this direct deposit program. Any employee wishing to participate in the program can enroll online through WebAdvisor using Willamette Login and Password.
Student Reimbursements
Students who are on direct deposit of their student refunds are also eligible for direct deposit service. Interested students who are not on direct deposit can also enroll through WebAdvisor using their Willamette Login and Password.
There are certain limited circumstances under which payment by paper check rather than direct deposit is necessary or justified, including:
Foreign Nationals
Because U.S. financial institutions generally require a valid SSN for mandatory federal reporting purposes, foreign nationals who experience a waiting period before being issued a SSN may encounter difficulty in opening an account with a U.S. financial institution. Such individuals will be paid by paper check.
International ACH Transaction (IAT)
Willamette University is obligated to comply with the requirements of the United States Department of Treasury Office of Foreign Assets Control (OFAC), which oversees payments sent outside the territorial jurisdiction of the United States. This includes automated clearing house (ACH) payments, such as direct deposits of payments to students or employees. Effective September 18, 2009, the National Automated Clearinghouse Association (NACHA) requires all direct deposit payments that are (1) made by the University to a financial institution located outside the U.S. or (2) made by the University to a domestic financial institution if that financial institution immediately transfers the full deposit amount to a financial institution outside the U.S. in a "back-to-back" transaction to identify as an "International ACH Transaction" (IAT).
At this time the University is unable to process direct deposit records coded as IATs. Therefore, payments that must be coded as IATs will instead be processed using paper checks. Click here for IAT Rules & Compliance.
Effective Date
Your first direct deposit will take effect two weeks after you first signed up. This is to make sure that the routing & account number you provided on WebAdvisor is verified for validity. Note: It is the employee's responsibility to review the accuracy of personal information and payment information & to notify the Accounting Office when there is any change to their bank account that affects their direct deposit.
Payment Notifications
All notifications to direct deposit recipients are made via e-mail. When the direct deposit participant establishes the service, they are asked to provide an e-mail address.
Disbursement Schedule
If for some cases the check needs to be specially handled, please contact the Accounting Office.
Questions regarding this service should be directed as follows:
- Employee Reimbursements - Contact Accounts Payable at firstname.lastname@example.com or (503) 370-6104
- Student Refunds - Contact Student Accounts at email@example.com or (503) 375-5308


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Note: Review was originally posted on October 19, 1995.
When I bought a CD-ROM drive a couple years ago, the first game I got for it was The 7th Guest. Despite a few annoying points, I really enjoyed the game. So, when The 11th Hour was announced, I naturally looked forward to its arrival with great eagerness. Now, after many delays, The 11th Hour is on the stands, and it has turned out to be a great disappointment in many ways.
In the first game you wandered through a haunted house, solving puzzles in the various rooms. Completing one or more usually opened more of the house to you, and also triggered ghostly reenactments of what happened in the house back in the '20s, when Stauf and his six guests mysteriously vanished. Eventually, you made your way to the top of the house for a confrontation with Stauf himself.
There was a lot about The 7th Guest that was never fully (in some cases, not even partially) explained, and many of the ghost scenes were not displayed in order, making the story even harder to follow. This was perhaps the single biggest complaint about The 7th Guest, and evidently the designers took that to heart, as The 11th Hour is a rigidly-linear production.
The story here is about Carl Denning and Robin Morales. Denning is a reporter for and Morales the producer of a TV show called "Case Unsolved." Morales goes to Harley-On-Hudson to poke around the Stauf mansion and promptly vanishes. Denning receives a palm-sized computer called the "Gamebook," which shows him a picture of Robin in trouble. Naturally, he jumps right on his motorcycle and heads for the Stauf mansion himself, where he quickly becomes embroiled in Stauf's little games.
As Denning goes through the house solving the puzzles, the Gamebook shows him playbacks of what happened from the time Morales arrived in town. Some show Morales, some show other people. At the conclusion of each hour, the playbacks from that hour are shown again, in sequence, with some extra scenes. Over the course of the game, the complete narrative is thus developed in order.
The interface is simple, and will be familiar to anyone who's played The 7th Guest. The main cursor is a skeletal hand, whose motions indicate what you can do. A beckoning or pointing hand means you can go in that direction, while a hand moving rapidly back and forth means no action to be taken. A tapping motion indicates something that can be touched.
The cursor changes to an eyeball over some objects to allow a closer look and becomes a skull with an exposed, pulsating brain when over a puzzle. Pushing the hand to the top of the screen accesses the Gamebook, which is the main control panel. From here, you can save or load the game, quit, look over the house map, review a playback or obtain help from the mysterious Samantha, who sent you the computer in the first place.
The game is divided into the hours of 7, 8, 9, 10, and 11 o'clock (P.M., of course). Everything in each hour must be completed before you can move on to the next one. In many instances, certain puzzles or Treasure Hunts must be solved before more opens to you during a particular hour.
Now that you know something about the game, let's take a look at what's wrong with it. First, The 11th Hour was designed not merely for a high-end system, but a top-end one. Where The 7th Guest played flawlessly on my '66, I couldn't even bring up The 11th Hour except in quarter-screen grayscale. It was rather like watching a letterbox movie on a black and white TV. There was no deterioration of the graphics, just no color except a tinting of the pieces when doing a puzzle.
Further, the voices on the playbacks were often hard to make out; there was a lot of stuttering and skipping in the audio portion. The game music usually came through all right, however, as did Stauf's voice. Unfortunately, the music rapidly became boring, as did Stauf's taunts, and I generally had the speakers off except during the playbacks. None of this added any enjoyment to playing the game.
There are thirteen puzzles in The 11th Hour and six head-to-head confrontations with Stauf in strategy games. Sad to say, most of the puzzles are unimaginative at best. Five of them are of the "switch places" variety. You exchange the starting positions of bishops, knights and spiders (separate puzzles, of course), rearrange books on a shelf, and anagram the letters of "Faust" to "Stauf" on a railroad track. One or two would have been all right; five of essentially the same thing is too much.
Worse yet is the mirror, a form of sliding block puzzle where you have to move the nine panels around to form a complete picture. The puzzle is okay; the problem is that much of the time, you'll get a starting arrangement that's impossible to complete, and you won't know it until you're well along (the puzzle begins with a random configuration each time).
However, the absolute worst is the Piano. Here, you have a "room" crowded with furniture, and you must move the pieces so you can get the Piano out of the room. Not only is the concept dreary to begin with, it takes something on the order of 90 (!) moves to do it. This isn't a puzzle, this is stupidity. We all have better things to do with our time than indulge in such tedious exercises.
Beyond the puzzles, there are the Treasure Hunts. In the Hunts, Stauf provides a bizarre clue to some object in the house via the Gamebook. After figuring out the clue, you find the item and touch it. Usually, though not always, this triggers one of the playback scenes.
The clues are in the style of British crosswords, relying heavily on anagrams, puns, homonyms and the like. What is bad about this is you pretty much have to write down all the viewable items in the rooms and hallway or you'll be a long time finding anything. There's so much junk lying around, you won't be able to remember what's where after awhile, so a list is necessary.
There are more Treasure Hunts than anything else in the game; forty-one of them altogether, and what might have been interesting turns into drudgery before very long. Playing a game should not require taking inventory of the house's contents. Where's the fun in this?
The face-offs vs. Stauf were something of a drag for me, since I'm not much of a strategy game player. Fortunately, the AI for these games seems to have been scaled way back from that in the universally-hated microbe puzzle of The 7th Guest (the one thing in that game I used the library book to solve), and it is entirely possible to win all of them with persistence and perhaps a little luck. However, I didn't particularly care to have to go through six of these things.
Moving around the house is cumbersome and awkward. You'd think that, having a map, you could just click on a room to go there, but that's not the case. I can see where, for the first visit to an open room, you'd have to go the "hard way." After that, though, you should have been able to reach such rooms from the house map. It isn't until the game is over and the entire house is open that you can travel by using the map, and who really cares then?
It's during play that you really need this ability, and you don't have it. Instead, you must sit through the tiresome movement system to get anywhere, over and over again. While the house isn't that large, it still takes awhile to reach most places.
About the story I won't say too much, because I could go on a long time about it. While the narrative is more connected, it leaves as much if not more unanswered, as did The 7th Guest. Too many things happen without an explanation, which is very unsatisfying.
Moreover, while the story itself starts off interestingly, it soon devolves into something cheap and sordid. And that is really the whole sad point about The 11th Hour: It isn't so much a game as a third-rate sex and sadism flick masquerading as one. As the events unfolded, I was repelled rather than horrified, and between that and the general tedium of playing, I couldn't finish this one fast enough.
Overall, The 11th Hour is a mess in its storyline, its poor puzzle quality, its too-high-end requirements, and its general lack of consideration for the game player. I would not recommend this game to anyone.
(Note: I wouldn't want anyone to get the wrong idea by the mention of "sex." While some of the scenes are highly suggestive, there is nothing remotely pornographic about them.)
Final Grade: D
System Requirements:
~IBM and 100% compatibles
~Win 95 or MS-DOS 5.0 or greater
~486DX2/66 minimum (Pentium recommended)
~2x speed CD-ROM drive performing at a sustained rate of 300k/sec
~8 MB RAM, 4 MB hard disk
~Sound Blaster family, Roland family, Media Vision family, Gravis Ultrasound and 100% compatibles
~Local Bus Video capable of displaying thousands of colors
~Microsoft 100% compatible mouse; good, powered speakers.
~80mhz PowerPC
~System 7.5 or better
~4x CD-ROM


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The UK's Leading Scottish Country Clothing Specialist
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Heavy Duty Lugs - 6 Gauge Wire - 3/8" Post - 2-PackCable Gauge: 6Screw Size: 3/8"
Heavy Duty Lugs
Fine stranded cables, those with a large quantity of small-diameter strands, will improve a crimped joint's performance. Finer strands more readily fill the inside contour of a terminal as it is crimped. This even distribution of strands allows imposed loads to be distributed more evenly.
Air pockets or voids in a crimp joint with coarse stranding increases resistance and temperature which in turn leads to a faster rate of corrosion.


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Professor Karen Musalo directs the Center for Gender & Refugee Studies and the Refugee and Human Rights Clinic. She is lead co-author of Refugee Law and Policy: An International and Comparative Approach (4th edition), and has contributed to the evolving jurisprudence of asylum law through her scholarship, as well as her litigation of landmark cases.
Professor Musalo was lead attorney in Matter of Kasinga (fear of female genital cutting as a basis of asylum), which continues to be cited as authority in gender asylum cases by tribunals from Canada to the United Kingdom to New Zealand. She was co-counsel in the Ninth Circuit en banc decision, Abebe v. Gonzales, and attorney of record in Canas-Segovia v. INS and Ramirez-Rivas v. INS. She represented Rody Alvarado, whose case was a landmark in the struggle for the right to asylum for women fleeing domestic violence. She also represented Ms. L-R-, the asylum seeker from Mexico whose high profile victory broke additional ground on the issue of gender asylum.
Professor Musalo has been quoted extensively in the media, including The New York Times, Washington Post, The Nation, and El Pais, and has been interviewed on other media, such as Nightline, CNN International, The Diane Rehm Show, and Talk of the Nation. She was featured in the PBS documentary Breaking Free: A Woman's Story, which focuses on Rody Alvarado's case. Professor Musalo is recognized for her innovative work on refugee issues. She was the first attorney to partner with psychologists in her representation of traumatized asylum seekers – a practice that has since become standard – and she edited the first handbook for practitioners on cross-cultural issues and the impact of culture on credibility in the asylum context.
Professor Musalo has received numerous advocacy awards for her pioneering legal work, including the 2010 California Lawyer of the Year Award, the 2009 Daily Journal's recognition as one of the "Top 100" lawyers in California, and the American Lawyer's 1997 recognition as one of the forty-five outstanding young public interest lawyers. In 2012, she received an honorary Doctor of Humane Letters from Lehman College, the same year she received UC Hastings' William Rutter Award for Excellence in Teaching. In 2014 she was named the Bank of America Foundation Chair in International Law in recognition of her cutting-edge engaged scholarship and litigation, which has positively impacted so many refugees from around the world. Professor Musalo is a frequent speaker at conferences and law schools in the United States, and has lectured extensively in Europe and Latin America.
Courses Taught: Refugee Law & Policy, Refugee & Human Rights Clinic
Expertise: Refugee Law, Women's Rights, and Clinical Education


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SpaceX buys land in Cameron County near proposed launch pad
Sun, 23 Sep 2012 18:25:10 GMT —
BROWNSVILLE, Texas (AP) -- SpaceX is buying land in South Texas where the company is considering building a private rocket launch facility.
The Brownsville Herald reported Sunday that the commercial space exploration firm has purchased at least three lots in Cameron County under the name Dogleg Park LLC.
Property records show the owner's address is listed as SpaceX headquarters in California.
SpaceX is said to be considering Texas, Florida, Puerto Rico and perhaps Georgia as the location for a new launch site.
The company did not respond to the newspaper's requests to comment on the land purchases.
Cameron County Judge Carlos Cascos, the county's top elected official, said the purchases don't guarantee that SpaceX has made its choice but called it a good sign.
SpaceX already has a rocket factory near Waco.


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Loeb Music Library
Archive of World Music Collection
- Overview
- Access
- Collections
- The Sema Vakf Collection of Turkish Classical Music
- Laura Boulton Collection
- The James A. Rubin Collection of South Indian Classical Music
- The Eduard Alekseyev Fieldwork Collection of the Musical Culture of Yakutia, 1969-1990
- The Stephen Blum Collection of Music from Iranian Khorāsān at Harvard University: original ethnographic sound recordings, 1968-2006
- The Rubén Blades Archives at Harvard University
The Archive of World Music, a collection of the Loeb Music Library, was established in 1976 by Professor John Ward and in 1992, with the appointment of Kay Kaufman Shelemay as Harvard's first senior professor of ethnomusicology, moved to the Loeb Music Library to become one of its special collections. It is devoted to the acquisition of archival field recordings of musics world-wide as well as to commercial sound recordings, videos, and DVDs of ethnomusicological interest.
The Archive quickly attracted major collections including the James Rubin Collection of Indian Classical Music (probably the largest collection of Indian classical music in the U.S.), the Kay Kaufman Shelemay Collection of Ethiopic Musics, the Sema Vakf Collection of Turkish Classical Music (probably the largest outside of Turkey), the Laura Boulton Collection of Byzantine and Eastern Orthodox Chant, the Eduard Alekseyev Fieldwork Collection of the Musical Cultural of Yakutia, the Stephen Blum Collection of Music from Iranian Khorāsān, and the Rubén Blades Archive. Collection development has focused primarily on the Middle East, Asia (broadly understood), and Africa.
Whereas the content of the Archive continues to develop with a special emphasis on Asia and the Middle East, it is currently in the position to further develop the collection with recordings from Mexico, Central and South America, as well as from all around the globe.
Substantial grant funding from the Laura Boulton Foundation, the Sema Vakf Foundation, and the Harvard University Library Digital Initiative has provided funds for preservation and access to the Archive's collections and for building substantial infrastructure to support long-term digital preservation.
The Archive of World Music is a closed-stack, non-circulating teaching and archival collection for in-house use, accessible to patrons with a Harvard ID. Requests for recordings by qualified researchers and scholars may be made at any time, but one week is required for preparation of materials. In order to preserve fragile and rare recordings, user copies must be made of formats other than commercial CDs, VHS tapes, and DVDs. Visiting researchers are asked to submit requests in advance of their visit in order to make the best use of their time at the Archive.
Materials in the Archive are cataloged in HOLLIS, and are subject-searchable by country, by keyword, or by author/title searches. Finding aids to special collections in the Archive are available in OASIS, Harvard's Online Archival Search Information System.
For further information, please e-mail Sarah Adams, Acting Curator of the Archive of World Music, or e-mail Peter Laurence, Senior Curatorial Assistant in the Archive of World Music.
The Archive has developed important collections from Asia and the Middle East, and it holds very diverse archival material: wide-ranging Chinese songs acquired by Harvard Professor Emeritus Rulan Pian, extensive field recordings from the 1980s by Martha Forsyth of traditional Bulgarian songs, field recordings of Tvisöngur (male polyphony in Iceland), and !Kung field recordings, among others. Numerous recordings of Indonesian music have been acquired, primarily on commercial sound cassettes.
The Archive has a growing collection of recordings from the Middle East, including the Sema Vakf Collection of Turkish Classical Music, and a substantial number of recordings from the Arab world. The James A. Rubin Collection of South Indian Classical Music, more than 2,000 hours of recordings, features some of the finest musicians of the 20th century. The Eduard Alekseyev Fieldwork Collection of the Musical Culture of Yakutia is a unique collection of field recordings made in various regions in Russia, representing the musical culture of the Yakut (Sakha), Crimean Tartar, and Ukrainian peoples.
The Archive also houses much of the sound recordings content (with the exception of some film soundtracks) of the Baroness Marie-Thérèse Ullens de Schooten Archive. A unique collection, its primarily visual content resides at the Documentation Center of the Aga Khan Program for Islamic Architecture at Harvard's Fine Arts Library. Baroness Ullens spent several months every year between 1951 and 1972 in Iran, documenting the Qashqa'i and the Bakhtiari peoples, as well as the Kurds and Türkmen, and Sufi dervishes in photography, film, and sound recordings. The recordings herein range from live recordings to radio recordings of the time. A finding aid to the Baroness Marie-Thérèse Ullens de Schooten Archive is available in OASIS, Harvard's Online Archival Search Information System.
The Archive is also home to the Laura Boulton Collection of Byzantine and Orthodox Musics. Comprised of sound recordings, accompanying documentation, and numerous ancillary materials, the collection represents Boulton's field work throughout the Eastern Orthodox world during the 1950s and 1960s, much of which was undertaken jointly with Harvard's Center for Byzantine Studies at Dumbarton Oaks. The collection includes related Armenian, Russian, Coptic, and Ethiopian music materials as well.
The Sema Vakf Collection of Turkish Classical Music
The Sema Vakf Collection may be the largest collection of Turkish music in the world. It consists of more than 1,000 audio and video field and commercial recordings, more than 9,000 written musical notations, 300 books and dissertations, and musical instruments collected by the Turkish-American connoisseur of Ottoman classical music Altan Güzey.
The collection includes the entire private archive of Ismâil Baha Sürelsan, a Turkish composer and ethnomusicologist who has devoted more than 60 years to performing Turkish classical music. Among the other treasures of the collection are recordings of the singer Allâeddin Yavaşça's mesk, musical lessons held on Sunday afternoons at his home once a month. Some of Yavaşça's own transcriptions of musical works form part of the collection. There are numerous performances by such accomplished artists as Meral Uğurlu, Mes'ûd Cemil, Bekir Sitki, Reha Sağbaş, and Selmâ Sağbaş.
This vakf, or trust, is named for the art of listening (sema), specifically the engaged listening of the connoisseur to wonderful music. Altan Güzey established it for the preservation and perpetuation of classical Turkish music, particularly repertories of court music composed before 1850. The vakf maintains the archive and also supports musical performances and commissioned recordings of Turkish classical music. Its mission is to make musical resources available to scholars and performers interested in the subject. The collection has now been transferred to Harvard and the University currently has more than 600 items.
The Sema Vakf Collection is searchable in the HOLLIS catalog. To see the entire collection, search for author sema vakf collection.
Alternatively, keyword searches by names of performers or performers, first lines of songs or makams will produce more specific results, for instance: search by keyword: uğurlu hicaz.
Laura Boulton Collection
The Archive is home to the Laura Boulton Collection of Byzantine and Orthodox Musics. Comprised of sound recordings, accompanying documentation, and numerous ancillary materials, the Collection represents Boulton's field work throughout the Eastern Orthodox world during the 1950s and 1960s, much of which was undertaken jointly with Harvard's Center for Byzantine Studies at Dumbarton Oaks. The Collection includes related Armenian, Russian, Coptic, and Ethiopian music materials as well.
A finding aid to the Laura Boulton Collection is available in OASIS, Harvard's Online Archival Search Information System.
The James A. Rubin Collection of South Indian Classical Music
The James A. Rubin Collection consists of almost 1,000 tapes, 400 78 rpm records, more than 20 program books, several other books about Indian music, and 30 spiral-bound notebooks detailing the performances Rubin recorded in India.
The core of the Rubin collection is a set of almost four hundred reels of tape that Rubin recorded on 18 trips to South India between 1964 and 1987. Rubin was a student of the famous singer M.S. Subbulakshmi and as such was in a unique position to record concerts at such prestigious venues as the Madras Music Academy and the Tyagaraja Aradhana festival in Tiruvayaru, Tamil Nadu. He also recorded performances at other concert halls, many private recitals at the artists' homes, and classical music programs broadcast on All India Radio.
Rubin recorded many concerts of Indian music in the Boston area. In 1966 the Pan Orient Arts Foundation arranged a national tour by M.S. Subbulakshmi, and Rubin was able to record every performance in cities across America. Rubin also included recordings sent to him by friends and colleagues. The music in this collection includes renditions of more than 1,000 compositions, both rare and popular, by more than 600 musicians. As such, it is probably the most comprehensive and significant source of Carnatic music recordings in the world today. This collection will add to the more than 100 recordings of Indian music already in the Archive of World Music.
Under the auspices of the Library Digital Initiative, this collection is being made available to scholars and lovers of Indian music. The tapes will be copied in an archival digital format for permanent storage. A finding aid to the James Rubin Collection, containing a complete catalog of all original performances in the collection, is available is OASIS. This document links to visual images of Rubin's field notes and other concert programs. In cases where Harvard University has the artists' permission, audio files of the performances will be available on the Internet.
The Eduard Alekseyev Fieldwork Collection of the Musical Culture of Yakutia, 1969-1990
The Eduard Alekseyev Fieldwork Collection contains audio and video of traditional religious and ritual cultural expressions of the Sakha (Yakut) people from the Sakha Republic of the Russian Federation, formerly known as the Yakut ASSR (Autonomous Soviet Socialist Republic). Sakha (Yakutia), is the largest sub-national entity in the world, and is a circumpolar region, half of which lies above the Arctic Circle. The majority of the recordings were created in a fieldwork setting, but some were made during concerts, and at festival events of Ukrainian people in Kiev, and of Crimean Tatars in Simferopol. Included are various types of rites, such as shamanistic ceremonies of purification and epic songs that precede hunting or fishing. From the 1960s through the 1980s, Soviet policy suppressed publications about the rituals of indigenous cultures. For that reason, the recordings within this collection are particularly valuable.
A finding aid to The Eduard Alekseyev Fieldwork Collection is available in OASIS, Harvard's Online Archival Search Information System. The reel-to-reel tapes from the collection have been digitized, and audio files of the recordings are available through the finding aid.
The Stephen Blum Collection of Music from Iranian Khorāsān at Harvard University: original ethnographic sound recordings, 1968-2006
The Stephen Blum Collection contains audio from ethnomusicological fieldwork conducted in the northern part of Iranian Khorāsān. Included are about 50 hours of field recordings made in 1968-1969 and 1972, with an emphasis on sung poetry in three languages – Persian (Farsi), Khorasani Turkish (Torki), and Kurmanji Kurdish. Musical genres most prevalent in the collection include dastgāh - the modal building blocks of Persian art music - and both lyric songs (including chārbeiti, ghazal, and gharibi) and narrative pieces (naqqāli, dāstān, pandiyāt and others), performed as solos or with instrumental accompaniment. Frequently referenced poetic works include the Shāhnāmah of Firdawsī, Sabz parī va Zard parī, and Chahārdah afsānah az afsānahhā-yi rūstāʾī-i Īrān.
The performers in this collection are the subjects of Blum's Ph.D. dissertation, "Musics in Contact: The Cultivation of Oral Repertoires in Meshhed, Iran." After completing his dissertation fieldwork in the summer of 1969, Professor Blum taught first at Western Illinois University (1969-73) and the University of Illinois at Urbana-Champaign (1973-77). From 1977 to 1987 he was the founding director of an M.F.A. program in "Musicology of Contemporary Cultures" at York University in Toronto. Since 1987, he has taught at the City University of New York (CUNY) Graduate Center, where he initiated a concentration in ethnomusicology.
Following the Revolution of 1979, Dr. Blum was unable to return to Iran until 1995, when he donated copies of his earlier recordings to the Ministry of Culture and Islamic Guidance, and made additional recordings in Khorāsān as well as in the city of Qazvin, northwest of Tehran. He began to make more frequent visits in 2006, and remains in close contact with Iranian students and colleagues. Recordings from these visits consist largely of conversations, with occasional performances. The collection also includes notebooks and printed collections of verses intended for singing, along with a street guide to the city of Mashhad.
A finding aid to The Stephen Blum Collection is available in OASIS, Harvard's Online Archival Search Information System. The reel-to-reel tapes from the collection have been digitized, and audio files of the recordings are available through the finding aid.
The Rubén Blades Archives at Harvard University
Rubén Blades is an internationally prominent and popular musician, actor and politician, who has won numerous Grammy Awards and many other awards for his Latin pop and salsa recordings. He played a key role in the salsa music scene in New York in the 1970s, an influential period of burgeoning popularity for this musical and dance style. Blades graduated from Harvard University Law School in 1985 with a Masters degree in International Law.
The predominant musical style represented in the collection is salsa, a Latin musical style that incorporates traditional and popular song forms that have originated in countries such as Puerto Rico, Cuba, Dominican Republic, Panama and the United States, to name a few. Elements of jazz and rock are also frequently included in salsa music. One of Blades' notable musical distinctions has been and continues to be his collaborations across genres with all types of musicians, including work in musical theater forms. Blades is also known for incorporating socio-cultural and political commentary within salsa and Latin popular music.
The collection contains periodicals and articles from the Latin American and the United States press about Blades' own music and popular Latin music in general, as well as ephemera, newspaper clippings, correspondence and campaign materials from Blades' bid for the office of the President of Panama in 1994. The bulk of the privately produced recordings are live concerts, television broadcasts and interviews.
A finding aid to The Rubén Blades Archives at Harvard University is available in OASIS, Harvard's Online Archival Search Information System. The commercially published sound discs and books that are part of the collection have been individually cataloged and are not listed in this finding aid. These may be found by searching the Hollis catalog for Rubén Blades Archives.


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GPSolo Magazine - April/May 2006
Staying On Top Of Your Game
All lawyers, in every type of practice, have to stay on top of their game. This requires a commitment to constantly improve. The best way to do something now may not remain the best way two years from now. Laws change, the business climate changes, and you can always learn better ways to do things. Your competition is constantly adapting to changes in the law and the marketplace, and if you do not keep up, you will be left behind.
If you are in a solo or small practice, it may seem hard to keep pace with lawyers at large firms or at in-house legal departments. But no matter how small your practice, you can stay on top of your game by adopting the right mindset and following through regularly on a few basic tasks. If you are doing it right, your practice will not only improve, you actually can have fun with it, too.
Talk Shop with Colleagues and Clients
As a solo or small firm practitioner, one of the best and most important ways to stay on top of your field is to network with other lawyers and with your clients. Calling it "networking" makes it sound both formal and artificial. The best networking is done informally and as part of a genuine relationship. Networking is putting yourself in situations where you can talk shop with other lawyers on a regular and informal basis: grabbing lunch or breakfast with another lawyer in your practice area; stopping by her office to chat; playing a round of golf; and talking to him at the courthouse while you are waiting for your case to be called. When you find yourself in these situations, look for opportunities to engage your colleagues in discussions about what they are doing and what is working well for them.
What you do not want to do is to wait for a specific need to arise that requires you to pick up the phone and call a colleague. Although he or she may be helpful in that particular situation, it is not effective networking. You need to be interacting with colleagues in advance. These conversations should help solve problems you never realized were there—before they become a crisis.
When developing these relationships, be sure you go out of your way to volunteer to help other lawyers. Offer up a good idea that has worked well for you on a case, even if the lawyer is a friendly competitor of yours. Often lawyers are proprietary about their practice knowledge and are afraid that releasing their information will help out their competitor. If it is truly a great idea, the other lawyer will remember your helpfulness and will find ways to reciprocate. And if your suggestion was not such a great idea, you will at least get points for the effort, and you will not have lost anything.
Talking shop is a good idea not only with other lawyers, but with your clients as well. Talk to your business clients about what is going on in their industries and what they are doing about it. This will put you on the lookout for ways you can help them with their changing legal needs. You also may find that the business lessons your clients have learned will help you run your practice.
CLE: Participate, Don't Just Attend
Lawyers who believe that they are staying on top of their practice simply by attending mandatory CLE each year are fooling themselves. As we all know, mandatory CLE too often has an air of high school detention, and too often it ends up just as productive. But CLE can become an important part of staying on top of your game.
CLE provides excellent opportunities for precisely the type of lawyer-to-lawyer networking discussed above. This is particularly true for out-of-town programs and programs that draw lawyers with whom you otherwise wouldn't interact. You may not learn much in a half-hour session on the rule against perpetuities, but speaking with other lawyers at the CLE may help you learn how to run your practice better, give you substantive input on a practice area, or provide a contact for the future. When you attend a CLE program, look for chances to talk one on one with other lawyers about their practices.
Even better than attending a CLE program is presenting at a CLE program. Speaking requires you to learn the subject matter and, perhaps most importantly, to update your knowledge of the practice area. It may seem unpleasant to have to spend the time preparing for a CLE presentation, but just as writing a brief forces you to develop your knowledge of that area of the law, speaking at a CLE program requires you to get up to speed on part of your practice. Additionally, clients and colleagues will assume that your speaking at a CLE program is proof that you are a lawyer at the top of your game.
In addition to speaking opportunities, always keep an eye open for chances to write for various publications. Even more than speaking, writing requires you to hone your knowledge of an area in your practice.
None of these suggestions is difficult. You most likely have to attend CLE anyway, so now is your chance to make it productive. And whether it is your local bar association, a practice-specific organization, or a professional CLE organization, people are continually looking for authors and speakers. It may be extra work, but it is the sort of work that pays off because it helps you stay on top of your game.
Join an Organization in Your Practice Area
Another important way to stay on top of your game is to get involved in legal organizations in your practice area. The GP|Solo Division of the American Bar Association is an excellent example, as are the many practice-specific Sections of the ABA. For example, my firm limits its practice to employment matters, almost exclusively from the employee's perspective. There are several ABA Committees that focus on labor and employment issues. These Committees provide meetings that review the substantive areas of the law, as well as give lawyers formal and informal ways to exchange information on their practices. Additionally, ABA Sections offer CLE telephone conferences devoted to recent developments in the law. These conference calls provide immediate updates on recent changes in the law and are an easy way to receive CLE credit.
You can also find other organizations that have information in your practice area. An example from my practice area is the National Employment Lawyers Association ( www.nela.org), devoted to helping lawyers who represent employees in litigation. Where ABA Sections are committed to presenting a balanced perspective in a substantive area (such balance provides an excellent opportunity to understand how your colleagues on both sides of the issue practice), groups such as NELA focus on uniting lawyers on the same side of an issue; this, too, is helpful because it allows you to candidly exchange information with your colleagues.
One of the most valuable features of membership in an organization such as the ABA or NELA is enrollment on its listserve (e-mail subscription list). These listserves post e-mails reflecting current legal issues along with replies from practicing lawyers. Generally, the best listserves, like NELA's, involve daily e-mail summaries of the new messages and responses. These listserves offer valuable insight from numerous lawyers on a single legal issue. It's like being in a virtual firm of thousands of lawyers.
Just joining these organizations and signing up for the listserves does not keep your practice sharp, however. You have to participate. This means reading the listserve each day, no matter how tedious it may seem; attending the out-of-town meetings and CLE; and talking with other lawyers at those meetings to exchange ideas. Be on the lookout for ideas that can help you in your practice, and, at a minimum, skim the organizations' publications for helpful articles.
Read Legal Publications
Before the Internet, the best way to stay on top of pending case developments was to subscribe to hard-copy advance sheets that would briefly summarize and categorize cases by practice area. Some lawyers still use advance sheets, and they can be helpful. However, the Internet allows lawyers quicker and cheaper access to better information.
First, newsletters generated by other law firms are simple and free. As part of their marketing efforts, many large law firms publish newsletters that analyze hot areas of the law and summarize the latest decisions. These newsletters generally are posted to the firm website, where they can be printed free of charge.
You can find these newsletters in your practice area with a quick Internet search. Some firms have a subscriber option whereby you can receive them automatically via e-mail. Alternatively, you or your staff can regularly print out the new newsletters as they are posted. And there are other reasons to gather electronic newsletters from lawyers in your geographic area, particularly from opposing counsel. These newsletters will show you developments opposing counsel are concerned about, as well as strategies you are likely to see when you go up against them. Find- Law also provides free, electronically delivered case updates covering a variety of practice areas and jurisdictions. (To sign up, go to http://newsletters.findlaw.com/nl.) Other services provide greater coverage for a fee.
You also should consider subscribing to one or two electronic or print publications that summarize recent developments in your case area. In the employment area, for example, one of the best electronic resources is the Employment Law Memo ( www.lawmemo.com). Every day, the author digests and summarizes all significant employment decisions from across the country. Receiving these electronic updates ensures that there are no changes in the law that may have passed you by. Other publications provide similar information. BNA ( www.bna.com) in particular has a number of electronic and hard-copy publications containing both commentary and recent case developments. BNA specializes in in-depth analysis on particular areas of the law (environmental issues, class action issues, etc.).
Maintain a Work Product File
Once you have the process in place to gather the information that allows you to stay on top of your game, you need to make sure you can access it. A good system allows for easy retrieval with as quick a filing process as possible. Too many organizational methods flounder because it takes too much time to file the material, or, in reverse, because nothing can be found easily.
One good system involves simply dropping material in a manila folder. As material is added—either work product generated in a previous matter or information picked up from other sources—it can simply be put in a folder with similar topics, or a new folder can be started. Each folder is given a sequential number and filed in numerical order. A word processing document lists each folder number, followed by a list of keywords that would be likely search terms for the topic in that file. Later, locating a relevant file is no harder than typing in the keyword in the word processor's find tool.
(Suggestions for an electronic filing system can be found in the article " Old Docs, New Tricks" on page 48.)
Whatever system you use, however, make sure there is a way to find "that great CLE handout from last year."
As long as you want to stay on top of your practice, and put in the time to do so, you will find your practice constantly improving. Ultimately, staying on top of your game does not require Herculean efforts. And it should involve having at least a little fun.
Nelson Thomas is a founding partner in the law firm of Dolin, Thomas and Solomon LLP in Rochester, New York. He can be reached at firstname.lastname@example.com.


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Proposed Changes to 2014-2015 Fish Code
Updated September 3, 2013
The NJDEP Division of Fish and Wildlife is advising the public that amendments are being proposed for the 2014-2015 Fish Code. The Fish Code includes regulations governing fishing in the state; amendments may include adjustments to season dates, bag/creel limits, or the means by which fish may be taken and possessed.
When the Notice of Rule Proposal is published in the NJ Register later this year, information and a link will be posted for the proposal on the DEP Notice of Rule Proposals page. A 60-day comment period will ensue during which written comments can be submitted via US mail or online, and oral comments may be made at public meeting (date, time, and location will be announced).
The proposed amendments to the 2014-2015 Fish Code will include the following:


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SAN FRANCISCO (KGO) --This weekend tens of thousands of people will descend upon the desert for the Burning Man festival.
The event started in 1986 and has grown into a Mecca for art and creative expression and it's also become a magnet for the Silicon Valley elite.
Good writing means never having to say you just had to be there, but with Burning Man, veterans say no amount of words, pictures, or videos can do the event justice.
A seven-time burner, Nick Fynn first journeyed to the desert in 1997.
"The first time we were sleeping in the trunk of a car with no shade structure," Fynn said.
By contrast, Friday ABC7 News reporter Tiffany Wilson toured a 42-foot luxury RV a Silicon Valley executive rented for the week.
"It's a full kitchen with a gas stove and a dish washer," said Curt Chandler, San Francisco Private RVs CEO.
Chandler will drive it out, set it up and wait for the mystery man to helicopter in.
The RV is equipped with a TV and a king sized bed and costs $20,000 for the week.
Jade Rauerzahn sent a tweet about the RV saying "This is the ultimate representation of the destruction of the authenticity of Burning Man."
But Fynn staunchly defends the tech burners.
"Everybody's going to be able to criticize the way others experience Burning Man, but remember it's about how you do it," Fynn said.
Fynn went even further and said a lot of techies gain success because of the networking and ideas exchanged at Burning Man.
Sean Cusack of Sheet Metal Alchemists is living proof.
The sculptor founded his company after attending the event. Burning Man is a pretty good testing ground.
Despite a backlash against tech taking luxury to the desert, the first principal of Burning Man is radical inclusion.
"Anyone may be a part of Burning Man."
Even those who can afford to attend in a $400,000 RV.


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Director Stephen Wadsworth made his Met debut in 2004 with a production of Handel's "Rodelinda" that was memorable for its simplicity and for the emotional truth that simplicity carried. This season he's been entrusted with a new production, shared with Seattle Opera, of Gluck's 1779 masterpiece "Iphigenie en Tauride." What's lacking this time around is the uncluttered directness that worked so well in "Rodelinda." Wadsworth can't resist loading up on distracting dances and unnecessary stage business when he would be better off trusting Gluck's genius to shine through.
This is, after all, Greek drama — based on Euripides — and it's already bursting with emotion. Agamemnon's daughter Iphigenie, imprisoned by the Scythians, has been forced into servitude as their priestess in the goddess Diane's temple at Tauride. When Scythian king Thoas orders Iphigenie to kill two captive Greek soldiers as a sacrifice to Diane, one of them turns out to be her own brother, Oreste.
In an opera that focuses on individuals, Wadsworth too often fills the stage — particularly in the evening's first half — with dancers performing Daniel Pelzig's whirling-dervish choreography and dumb-show visualizations of dreams and flashbacks already clearly described by the characters. Wadsworth even goes so far as to add a shouted "Non!" for Iphigenie that is nowhere in the libretto.
Three-quarters of Thomas Lynch's set is effective — a russet-toned, torchlit sacrificial temple dominated by a monstrous statue. The rest of the stage is given over to an ugly, narrow gray space that interchangeably stands in for a passageway, an anteroom and a prison cell. Demarcated by two thick walls, it creates acoustical problems, including some squeezed-sounding reverb that does the singers no favors. Martin Pakledinaz's costumes seem to belong to no particular place or time, but they appropriately reflect the squalor of their war-torn surroundings.
Susan Graham heroically throws herself into the title role and, as always, sings French in an exemplary manner. Whether she has the right voice for Iphigenie is the question. Her lovely mezzo is essentially a lyric instrument; what's missing is the declamatory weight this part requires. That kind of satisfying force is more the province of dramatic mezzos (Rita Gorr was a celebrated Iphigenie) or dramatic sopranos (Regine Crespin made her mark in the part, as did Christine Goerke at New York City Opera).
Placido Domingo is a noble figure of suffering as her brother Oreste; the part is usually sung by a lower voice, but some Gluck-sanctioned transpositions were made to accommodate Domingo's tenor. His French remains heavily accented, but his stamina at 66 is remarkable.
Paul Groves has long made a specialty of the lighter French tenor repertoire, and as Pylade he sounds appropriately sweet yet powerful, with firm tone and impassioned delivery. Canadian mezzo Michele Losier makes her Met debut as Diane, flying down on wires as Euripides' deus ex machina. She is unflatteringly costumed in something resembling black-leather dominatrix drag. Vocally, she doesn't really ignite, but it would be nice to hear her in more congenial circumstances.
William Shimell bellows and barks King Thoas' lines with little finesse. But in the small part of the First Priestess, Lisette Oropesa reveals a crystalline soprano and a sympathetic stage presence. The Met would do well to put her on the fast track toward more important roles.
The orchestra is in the reliable hands of Mostly Mozart musical director Louis Langree, making a welcome Met debut.


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The Right Stuff … to Volunteer
From a personal and professional point of view, volunteering is priceless. It looks good on your resume, connects you to like-minded people, exposes you to new ideas and experiences, helps make the world a better place, and makes you feel good.
As you would expect, there are numerous and substantial benefits for the organizations and charities you are involved in as well. Volunteers provide organizations with manpower and assistance essential to meet their mission. In 2011, according to Volunteering America, 64.3 million Americans provided 8 billion hours of service at an estimated economic value of $171 billion.
But … there is more to volunteering than sheer numbers. If your employer requires you to help with its community relations program, you'll want do the best job you can. The same thinking goes along with pursuing volunteer opportunities on your own. Often, a volunteer commitment is a perfect fit, but as is the case with any endeavor, sometimes the outcome isn't what you expected or envisioned. Before you embark on a volunteer project of any size, you need to take a good look at several key components.
The first step in being a good volunteer is understanding why you even want to volunteer. Is it an organization you truly are excited and care about? A mission you are trying to advance for personal reasons? Is it because a friend asked you to get involved? Perhaps a romantic interest? Maybe it just looks good on your resume?
All of these reasons are perfectly valid, but because there is the potential to spend hours of time with one organization, you need to be honest with yourself to figure out the "why."
Tied closely to motivation is commitment. Identify a cause or a problem you want to address through your volunteer work—a passion. If you truly believe in the work the charity is doing, it is much easier to find the time. A one-off volunteer opportunity instigated by your friends is perfectly fine, but just choosing a cause because your friends are involved is not necessarily enough to make you want to show up at a board meeting after a long day at work or haul materials to a golf tournament. Having the right combination of motivation and commitment can really impact your ability to be an effective volunteer.
Volunteering in any kind of capacity is very altruistic, but it also boils down to unpaid work. For most people, that means it might fall lower on their list of priorities—after work, family, exercise, friends, and pets. As a result, you should be realistic about your ability to volunteer. Do you have the time to devote? How big a project can you take on?
Remember, while it may look good on your resume to say you organized volunteers at the local food bank or chaired the summer fundraiser, if you don't follow through with your promises, it can ruin your reputation and impact the success of the nonprofit you pledged to help.
Again, look at your motivation for getting involved and the amount of time you have available. Don't promise to take on a large project when you don't have the time. If you really can't make it work, gracefully bow out, but keep in mind, where there is a will there is a way. Sometimes getting things done is just a matter of being a better time manager!
While it's easy to step into a volunteer role thinking you are going to radically change an organization or truly save the world, it is best to have realistic expectations of how you can impact an organization. Share your expertise and knowledge, but know that you may not always be able to make big changes. As you learn the culture of the organization, you will discover ways to make suggestions that will be well received.
Think about how you want to be known: a dependable, passionate, dedicated, high-quality worker who can deliver, or someone who got in over their head and should have thought more about this commitment. In the end, the organizations you volunteer with and the type of volunteer you are reflect on you as a person. An unreliable performance can have far-reaching consequences beyond volunteering.